movie review of nepali movie jhola

Movie Review: Jhola

by Samaanta | Apr 11, 2019 | Blog | 0 comments

Nepali movie ‘Jhola’ is a movie made on a popular book by the same name by literary figure, Krishna Dharabasi. The plot set on the Nepali society of the time about a century ago. The movie directed by Yadav Kumar Bhattarai features  Garima Pant , Desh Bhakta Khanal, Deepak Chhetri,  Laxmi Giri , Pralhad Khatiwada in main roles. The movie made on the banner of Media for Culture Pvt. Ltd. was made after an extensive research on the topic for about 7 years. Based on the novel, Late Deepak Alok had written the script of the movie – keeping the core of the book intact. The movie can be categorized as a historical art movie.

The movie presents the height of violence against women in ancient Nepal – Sati tradition. In ‘Jhola’ an young woman (Garima Pant) is married to a man 40 years senior to her. When her husband dies, Garima is kept to be burned alive with the dead body of her husband. She escaped the fire and hides in a cave. You can watch the movie to know what happens to Garima and how her small son helps her.

STRENGTH AND WEAKNESS

Although there are places for improvement, the scenes in the movie seem realistic and historical. The movie depicts the environment of East Nepal at the time of 100 years ago. The movie uses long shot to present realistic views of the time. The movie features traditional tools like dhiki, janto, madani, ranko, diyalo and so on.

The young people could get a glimpse of our past and the old people can feel the time they have went through in their childhood. So, both young and the old can enjoy the movie. In addition to Sati tradition, the movie also touches slavery (Kamara Kamari) tradition.

The cinematography is one of the best aspect of the movie. The director has also taken care to present the ancient environment. Most of the lighting during the shooting were also made by traditional lights like ranko, diyalo and fire place light. The dress used by the characters were also sewn by hand.  Background music was also composed of leaf music and traditional tunes. The director says that none of the artists have done make up. To make the characters natural, they had carried cow dung, dug in fields, carried water and the natural dirt was used to make the characters real.

Garima Pant and the child artist have done a very realistic acting. Other actors have also justified their character. In a report, Garima got sick after the shooting of the scene in which she runs away by swimming in the river. Garima told that throughout the shooting she didn’t take a bath or applied makeup.

The director Yadav Bhattarai is a well known name in directing Nepali music videos. After directing about 900 music videos Yadav decided to make the movie on the story he read some 11 years ago. He read the book in BS 2059 and got the permission to make movie on it in BS 2063 from Dharabasi. The script writer Deepak Alok had died four years prior to the release of the movie.

‘Jhola’ is a historical movie to get a glimpse of the time of our fore fathers. The movie is a mirror of violence against women in ancient time. Apart from the entertainment, the movie offers insights into history, culture and tradition. ‘Jhola’ has it’s share of shortcomings but, it is a good historical movie. If you like fight, singing and dance, and fun in movies – this might not be the one you would love to watch.

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Tuesday, September 11, 2018

A Specimen of Movie Review on ‘Jhola’

Body { } center { text-align: center; } h2 { color: #333; } p { margin-bottom: 15px; } } movie / book review.

A review is a brief description of a book, film, play, album, etc. It gives the main points of the plot including the reviewer’s comments/ recommendations. While writing a review, think about the tenses you should use for each paragraph. When describing the plot, the present tense should be used. When a new topic is presented, start a new paragraph. Your recommendation and judgement should be included in the conclusion. Always be reasonable to support your comments or opinions.Useful Language

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The film is set ____. It tells the story of / is about _____; The film is directed/ produced by ____ ; It is based on a book by _____ ; The film is a comedy / thriller/ adventure / romantic comedy / tragedy etc.

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A Review of the Movie 'Jhola'

Title of the movie: Jhola

Director: Yadav Kumar Bhattarai

Producers: Raj Timalsina, Ram Gopal Thapa and Sushil Shah

Starring: Garima Panta, Desh Bhakta Khanal, Sujal Nepal, Laxmi Giri and Deepak Chhetri

Genre: Social

Duration: 90 minutes

Language: Nepali

Release Date: 7 December 2013

‘Jhola’ is a Nepali film based on Krishna Dharawasi’s short story “Jhola”. It has depicted Nepali society about the Sati tradition that was prevalent until the 1920s. The film has beautifully presented the issues of violence against women. “Has Nepalese society really passed through such inhuman tradition?” is the question every youngster wonders about.

The plot develops with the death of Garima’s husband in which she has to immolate herself upon her husband’s death, typically on his funeral pyre. She is supposed to be burnt alive with the dead body of her husband according to the tradition. However, she escapes the fire and hides in a cave. The help of her son fascinates the audience.

Almost all the scenes seem realistic and historical. Traditional tools like dhiki, janto, madaani, etc. give a traditional look to the film. Similarly, traditional lights like ranko, diyalo and fire place represent ancient environment to the spectators. In addition to Sati tradition, the movie also touches Kamara Kamari (a kind of slavery) tradition. What a beautiful cinematography it is! I think costumes of the artists and the leaf music in traditional tunes touch the heart of every one present in the cinema hall. Garima’s natural appearance, her role and her acting are spellbinding and add to the beauty of the movie.

This is a must watch movie. Don’t miss it.

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Revisiting ‘Jhola’: Social commentary done right

Kshitiz Pratap Shah

‘Jhola’ has a special place in the history of Nepali cinema. Almost unanimously revered and even nominated as Nepal’s Oscar submission in 2014, it is seen as an outlier in its unique addressing of a dated yet complex social issue. When I first watched it as a 13-year-old (almost a decade ago), it created a stellar impression in my mind. What ‘Jhola’ did in comparison to other movies on social issues is introduce nuances to its subject matter and make us question whether we place the blame on the right entities for such social evils. Instead of leaning into melodrama and simplification, the movie, for me, was a way of questioning a linear, black-and-white way of thinking back then. Now, when I rewatched the film nearly after a decade, I still feel that a great part of that authentic, even challenging essence of the movie still remains.

‘Jhola,’ based on Krishna Dharabasi’s short story of the same name, follows a small family from the rural hilly region of Nepal in the 1940s. Our protagonist (Garima Panta) is identified not by her name but simply referred to as Kanchhi. Her husband (Deepak Chhetri) is nearly thrice her age and is on his deathbed. Kanchhi also has a young son (Sujal Nepal), who often acts as the audience’s surrogate in the movie. Between father and son, Kanchhi is shown as the all-caring mother, responsible for everyone’s well-being. In fact, we get to see this family dynamic for nearly a third of the film and focus on the love given to Kanchhi by these two. We are concerned not only for her well-being, or due to a moral obligation, but also because we realise how the ‘sati’ tradition—which mandated that a woman burn along with her dead husband—immediately and permanently breaks familial bonds apart.

Kanchhi’s husband insists on not letting Kanchhi go to ‘sati.’ He understands just how young she is and presents this wish to her and his young son personally. Yet, this idea, constantly appealed to by the son during the funeral, feed into deaf ears. The cultural links associated with the system are entrenched to the point of being detrimental. ‘Jhola’ thus showcases how even the perpetrators of the ‘sati’ tradition are merely enacting a deep-set norm in the social conscience, which reveals that the issue of ‘sati’ transcends personal morality.

One of the few moments where the movie falters is during the death of the father. While we know enough about Kanchhi and the issue at hand to feel sympathetic towards her, the funeral scene, in particular, relies more on telling rather than showing. We see the sister-in-law (Laxmi Giri) side with Kanchhi while consoling Ghanashyam, the son. Yet, her complaints about the hypocrisy of the ‘sati’ tradition feels like a modern insertion, something added in hindsight. While theoretically valid and poignant, the movie rarely visualises her ideas until the end, where we see the extent of the tradition through violence on another ‘sati’ victim.

However, ‘Jhola’ remains personal and grounded for the most part. A large part of this is due to the acting of the two leads. Panta as Kanchhi is toned down, but it works great. She seems not merely a victim but also someone capable of carrying the familial weight on her shoulders. She plays Kanchhi as someone experienced and emotionally stable beyond her years. This doesn’t mean her character doesn’t emote at all—there are scenes where she gives her all. Her crying after the death of her husband is one such moment, a rare instance where Kanchhi breaks down, dismantling the shield she has constructed so well so far.

Similarly, Sujal Nepal brings relatability to the character of Ghanashyam. His character shows compassion and loyalty to Kanchhi, but he rarely overplays his part.

The screenplay uses metaphors, flashbacks and dream sequences to its advantage. The dying father’s dream of seeing himself in fire foreshadows the burning of his wife and the sudden change it brings to his family. Yet, these additions also break the monotony of the present and justify character motivations in a refreshing way.

Most importantly, though, the movie structures itself to be constantly linked to the present, as we see the story of Kanchhi and Ghanashyam play merely as a flashback to the turmoils of suspicion, doubt and unjustified violence in the middle of the Maoist insurgency. Dharabasi, the author of the short story, also makes an appearance, largely to remind us how contextual such discriminatory social evils still are in our society.

In fact, the dowry system, chhaupadi and witch trials still happen in Nepal. The ending is bitter-sweet (and perhaps even ironic), as Dharawasi pays homage to Chandra Shumsher, who allegedly abolished the ‘sati’ tradition but led an oppressive regime that was plagued by other forms of exploitation. This juxtaposed ending ultimately does a great job of leaving the audience at an edge—forcing us to come to terms with the deep-set rot of injustices lodged into our social systems.

Language: Nepali

Released: 2013

Available on: YouTube , with English subtitles

Duration: 1 hour 30 minutes

Director: Yadav Kumar Bhattarai

Cast: Garima Panta, Desh Bhakta Khanal, Sujal Nepal, Laxmi Giri and Deepak Chhetri

Kshitiz Pratap Shah Kshitiz Pratap Shah was a Culture and Lifestyle intern. He is an undergraduate student at Ashoka University, pursuing an English & Media Studies major.

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Movie/ Film Review: Jhola

  Movie Review on ‘Jhola’

Title of the movie: Jhola

Director: Yadav Kumar Bhattarai

Producers: Raj Timalsina, Ram Gopal Thapa and Sushil Shah

Starring: Garima Panta, Desh Bhakta Khanal, Sujal Nepal, Laxmi Giri and Deepak Chhetri

Genre: Social

Duration: 90 minutes

Language: Nepali

Release Date: 7 December 2013

‘Jhola’ is a Nepali film based on Krishna Dharawasi’s short story “Jhola”. It has depicted Nepali society about the Sati tradition that was prevalent until the 1920s. The film has beautifully presented the issues of violence against women. “Has Nepalese society really passed through such inhuman tradition?” is the question every youngster wonders about.

The plot develops with the death of Garima’s husband in which she has to immolate herself upon her husband’s death, typically on his funeral pyre. She is supposed to be burnt alive with the dead body of her husband according to the tradition. However, she escapes the fire and hides in a cave. The help of her son fascinates the audience.

Almost all the scenes seem realistic and historical. Traditional tools like dhiki , janto , madaani , etc. give a traditional look to the film. Similarly traditional lights like ranko, diyalo and fire place represent ancient environment to the spectators. In addition to Sati tradition, the movie also touches Kamara Kamari (a kind of slavery) tradition. What a beautiful cinematography it is! I think costumes of the artists and the leaf music in traditional tunes touch the heart of every one present in the cinema hall. Garima’s natural appearance, her role and her acting are spellbinding and add to the beauty of the movie.

This is a must watch movie. Don’t miss it.

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Jhola-An Epic Movie

Introduction

Sati, the first wife of Lord Shiva had jumped into the sacrificial fire in protest of the abuse her parents had done to her husband. Commemorating it, an inhumane tradition continued for thousands of years in which a woman burnt herself alive on the pyre of her dead husband. Women who were saved from the practice were rare. Only Mandev’s mother has been mentioned in the ancient history saved from the tradition. And then there was Rajendra Laxmi, the daughter-in-law of Prithvi Narayan Shah. Thirty one Satis burnt themselves at the death of king of Patan Yog Narendra Malla. During the reign of Laxmi Narsingh Malla, Kaji Bhim Malla was persecuted for a crime he did not commit. His wife, while sacrificing herself on the pyre of her husband, cursed: May the rulers of this country lose their rationality!

Jhola (English: Bag ) is a movie based on the story of the same name by Krishna Dharavasi (Dharavasi literally translates to- one who lives in the Earth) was the most anticipated movie of 2014. Speaking on the evil practice of Sati, the story of Dharavasi had gained immense popularity- credit to the radio programme Shruti Sambeg and genuine lovers of Nepali literature. What was the custom? What were the pains? Yadav Kumar Bhattarai has shown well as the director of the movie.

As soon as the production declared the making of the movie, everyone was eager to know the development. The movie’s shooting was given utmost importance by the national level magazines and TV shows. The actress, Garima Panta rose to fame. The post-production was keenly watched over. Content, everyone knew. How would it be presented? Major curiosity lied on the presentation of nudity. Complete nudity was mentioned in the story. How it be shown in a movie that had audience of conservative mindset? This curiosity had also made up a newspaper article.

The movie opens with a song by Sumnima Singh of Night- the same band I had featured in January. Krishna Dharavasi and his family make a special appearance in the present (2058 B.S.). He discovers a paper (letter) inside a bag left by an elderly man earlier that day and reads it.

The story opens in the year 1971 B.S. at an Eastern Hilly Village of Nepal. The writer of the letter is about 9 or 10 years old while his father is more than seventy years old. Shockingly, his mother is just twenty-seven. As his father lies on deathbed, his mother undergoes many troubles to take care of her son and household.

One day, the old man dies. The boy is then under the care of his uncle and aunt (both older than his mother). His mother is declared a Sati and she is made to perform several rituals before she offers herself to the burning pyre. However, she escapes without the notice of the processors. The boy finds her and takes her away to Manipur, India.

Social Evils and their Eradication

The movie presents some other social evils along with the tradition of Sati. Unequal marriage, treatment by witch-doctors and slavery are the evils of the era movie is based on.

Sati Pratha and Slavery were abolished by the Rana Prime Minister Chandra Shumsher in the years 1977 and 1981 B.S. respectively. But as the movie says- Evils in our society still linger. Widows were burnt once then. Now, they are burnt several times by the society. Unequal marriage, child marriage still prevail. Dowry system is growing up as another evil. Everyone should be united to fight against these evils.

Personal View The movie has been well presented. Such a presentation is rarely seen in low-budgeted movies of Nepal. Village life in the hills of Nepal has been well depicted. The story is supported by the acting. The illness of the old man seems real. The rituals after his death are well-shown (although there could have been finer details of the procession). The background music is catchy and melodious. The cinematography and the lighting is good, although there is need of improvement at some points. The only thing I felt bad about was the transition between the scenes and the scenes that occur rapidly after the death of the boy’s father. Overall, the movie is the best literary adaptation in Nepal.

Movie facts: Director: Yadav Kumar Bhattarai Story: Krishna Dharavasi Screenplay: Krishna Dharavasi / Deepak Alok Music/ Lyrics: Jason Kunwar Singer: Sumnima Singh Actors: Garima Panta Deepak Chhetri Deshbhakta Khanal Laxmi Giri Sujal Nepal (Lead Child Actor) Producers:

IMDb Rating: 8.8/10

References 1. Jhola at Internet Movie Database (IMDb) 2. variety.com/2014/film/asia/nepal-picks-jhola-for-foreign-language-oscar-race-1201290740/

You can watch the movie at: https://youtube.com/watch?v=tvSSDYsOHxw

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11 thoughts on “ jhola-an epic movie ”.

Pingback: Some women who died for love – Stories of Sandeept

Great review. I was brought up in Delhi and that somehow made me think that these things don’t happen anymore. That sati was happening as recently as the 70s is a shocking revelation. Unequal marriages unfortunately are fairly commonplace. Your posts are thought-provoking, my friend.

Thank you but I think you got confused, dear Anand. I didn’t mean 1970 A.D. but 1970 B.S. (Bikram Sambat- an official Nepali calendar). Since B.S. is 57 years ahead of A.D., the movie talks maybe of the 1920s (in A.D.) The tradition of Sati was abolished but other traditions are becoming inhuman. Dowry, for example. Child marriage and unequal marriage are still prevalent.

Like Liked by 1 person

Thanks for clarifying it Sandeep. Yes, I missed it. There are traditions I’ll be happy to see dead and gone! They mess with happiness, something that must be a fundamental right of a person.

Some of them are so rooted and are still spreading. I would love to see them being ended by learned people.

Odd how learned people are burnt at every crossing, figuratively speaking, by the very people they try to help. It happens all the time in India. A crusader against black magic is hacked to death, a man who speaks against traditions that are biased is shot dead. Martyrdom comes in various forms…one of them is philanthropic learnedness.

The world is cruel to those who are trying to help others. So helping oneself first might be the trick for survival.

I went to go watch this movie and it indeed was phenomenal! I think you left a great review of it. For me it was a unique viewing experience because I am not very familiar with Nepali culture and history! As an outsider looking at this work, it really just informs me about how things once were, on top of it being a captivating story. 🙂 I actually would recommend this movie to other people because, as (it seemed to me) cheesy as some parts are, it’s still a heart-clenching and heartwarming story that people can relate to. Thanks for bringing this into my life Ankit!

I am glad that you watched and liked the movie. Thank you so much!

I could not refrain from commenting. Very well written!

Pingback: Monthly Feature 12: Let’s take a “Breathless” Revision – Stories of Sandeept

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Kumari: A Feminist

Through gender lense and feminism, nepali movie: jhola.

I am eventually not a die hard fan of Nepali Movies. I rarely watch Nepali movies until someone refers or hear good review on it. I can count on my hand when someone asks me how many Nepali Movie I watched. I always have critiques on Nepali movies, actors, directors, stories, songs and dialogues. Its only because Nepali movies never match with current situations, never highlight Nepali scenario (its culture, religion, social values and norms, traditional beliefs, women’s rights and their struggle), never present stories of Gorkhas: Great Warriors instead only have stories which are irrelevant, dialogues never sound good, songs with disgracing women and coping from Hollywood and Bollywood movies.

Nepali Movie Jhola

But this time I am talking about Nepali movie Jhola which made me think about the future of Nepal in Cinema. I really appreciate the director of the film Mr. Achyut Ghimire for highlighted the old tradition of Nepal which had been supressing Nepali women from century Sathi System . Before talking about this story.I would like to talk about “Sati Pratha” a heart breaking bitter history of Nepal .Sati partha -a traditional practice in which a Hindu widow had to cremate herself on the funeral pyre of her husband.‘Sati’ is an ancient Sanskrit term, meaning a chaste woman who thinks of no other man than her own husband. Which has no any co-relation with suicide or murder and has never been mentioned in any scriptures as Sati Pratha.The practice was just the cruel tradition established by those bloodthirsty and merciless male rulers .Sati is often described as voluntary, although in some cases it may have been forced as you can hear in this story.

The practice was abolished by Rana Prime Minister Chandra Shumsher Rana on Asar 25, 1977 BS in Nepal.

This story sent me back to the period 1977. I have just heard and learnt about this cruel system in my Master level but never imagined how it would be like. The women who lived before 1977 had miserable life. Its gives me goose-bumbs even think about my ancestors who might have faced this. This story reveals  that ferocious Sati practice of that time :frightening history.

Most Watch Nepali Movie. It’s really impressive. The story how it is narrated, force you to think about women’s oppression, gender inequality and unequal power relation. It is not any religion and culture which force Sathi System as compulsion its indeed the follower, especially so called masculine men to suppress the sexuality of young women.

Through this film my perception towards Nepali movies has changed. At least I see this movie as the beginning of new horizon to cinema in Nepal which surely going to highlight the history, culture and real scenario of Nepal through movies to give new generation insight of Nepal.

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11 thoughts on “ nepali movie: jhola ”.

I think this movie will won the “OSCAR AWARD”

I think this is the good movie

Yeah!! Its actually good one!! A progress to Nepali movie!!

I have been hearing a lot about this movie. If I were in Nepal, I would gladly go and watch it. I was wondering if there is an online link to watch this movie….

nakul_regmi ji I am really sorry I do not think it is online yet! If I find it then I will surely share the link 🙂

Thank you 🙂

I too seeking for this movie online since couple of months I watched this movie once at Kentucky its soooup one so i still wanna watch it once again but i coun;t find it out online i would like to request you guys to upload this movie as soon as possible thankx

Sure!! If I get I will upload!! At least I will share the link!!

i wanna watch this movie i was searching all the time to watch this movie but i cant get it plz can u upload

I do not think the film has been uploaded yet.

So disappointing, we can’t watch this movie online and not even when I want to pay

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Nepali movie – jhola.

A 2014 release movie ‘Jhola’ is based on a story by literature Krishna Dharabasi titled the same – ‘Jhola’. The story is about an ancient tradition – Sati culture, until it was banned in 1920s. In this culture a wife had to immolate herself upon her husband’s death. In the start, some women used to end their life on her husband’s death voluntary, but later women were forced to commit Sati even against their wishes.

For her role in the movie, actress Garima Panta had won the Best Actress award at the SAARC Film Festival held in Sri Lanka in 2014. The film was also selected in Nepal to represent the country in the the Best Foreign Language Film at the 87th Academy Awards. The movie however couldn’t succeed in being nominated for the award.

The writer Krishna Dharabasi and Manju Bimali are also featured in special appearance in the movie. Sujal Nepal is the child artist in the movie.  The visual effects in the movie are prepared by Dinesh Jung Rana, colorist is Manoranjan Shrestha, singer is Sumnima Singh, lyrics / music / background score by Jason Kunwar, editing by Nimesh Shrestha, Himal Shrestha is the chief assistant director of the movie. Cinematography by Deepak Bajracharya, script is written by Dipak Alok, and the movie is jointly produced by Rajkumar Timilsina, Ramgopal Thapa and Sushil Shah.

Watch the full movie in a single part:

• Also read – Our review of ‘Jhola’
• The movie was  premiered in – KIFF 2014  Film Festival (festival ran from January 27 to January 31, 2014)
• ‘Jhola’ was released on February 7, 2014 on theater
• ‘ Jhola’ celebrated 52 days in theatre .
• Garima won the Best Actress award in SAARC Film Festival (festival ran from May 20 – May 25).
• The president congratulated Garima
• Artists Association honoured Garima Pant
• ‘Jhola’ won 4 awards in NFDC film awards.
• ‘Jhola’ was re-released on April 24 (a day before the Earthquake of 2015)

Twitter reviews:

@AnandNepal हेरी सकियो ।कथा पढ्दा/सुन्दा जति छ राम्रो र मार्मिक त्यसको एक भाग पनि छैन फिलिममा। र पनि कोसिस राम्रै छ । — सरो-दा (@One_Saroj) December 2, 2015

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Thursday, May 19, 2016

Jhola; a nepali movie, movie review, no comments:, post a comment.

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Thursday, November 30, 2017

A specimen of movie review on 'jhola'.

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What is 'Thola"? LOL

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Jhola – Movie Review

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Write a review of the Nepali movie "Jhola". (Expected length - 250 words; 4-5 paragraphs) 9. Make meaningful sentences using each of these idioms/phrases: By the book, to think outside the box, touch base, to get down to business, the bottom line, from the ground up, go down the drain, between a rock and hard place, to go down swinging, to cut corners, keep one's eye on the ball, to learn the ropes, to corner the market, in the driver's seat, back to the drawing board, a win-win situation, bottom line, smooth sailing, red tape, the wrong end of the stick, walking papers, call it a day, word of mouth, play hardball, on a shoestring

Divinefrost65 is waiting for your help., expert-verified answer.

• 411 people helped

Final answer:

'Jhola' is a remarkable Nepali movie that tackles important themes such as gender inequality and social norms in a powerful and thought-provoking manner. With its strong performances and beautiful cinematography, it offers a compelling narrative that encourages viewers to challenge oppressive traditions and stand up for justice.

Explanation:

Review of nepali movie 'jhola'.

'Jhola' is a remarkable Nepali movie that takes viewers on a poignant journey of self-discovery and societal transformation. Set in the backdrop of rural Nepal, the film portrays the life of a woman named Gauri, who confronts deep-rooted societal norms and battles against injustice. The story is beautifully crafted, highlighting the struggles and aspirations of women in a patriarchal society.

The movie stands out for its powerful performances, especially by the lead actress, Sajja Mainali. Her portrayal of Gauri's resilience and determination is truly commendable. The cinematography captures the essence of Nepal's rural landscapes, enhancing the overall impact of the film.

'Jhola' tackles important themes such as gender inequality, social norms, and the power of individual agency. It encourages viewers to think outside the box and challenge oppressive traditions. The film effectively highlights the consequences of adhering strictly 'by the book' and emphasizes the need to 'get down to business' to effect meaningful change.

Learn more about Review of Nepali movie 'Jhola' here:

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Nepali Times

6-12 december 2013 #684.

Based on author Krishna Dharabasi’s story of the same name, the film begins when an old man called Ghanashyam (Sujal Nepal) leaves his bag for a night at the writer’s home. Suspicious, the writer checks the contents of the bag only to find an old manuscript which contains 11 short stories. As Dharabasi starts reading, he is transported to Nepal of the 18th century. We are introduced to a young Ghanashyam who lives with his mother Kanchi (Garima Panta) and his ailing father (Desh Bhakta Khanal). After her husband passes away, Kanchi’s life becomes a nightmare.

Expected to sacrifice herself on the funeral pyre, Kanchi enters almost a daze like state and goes from being a strong-willed, loving mother to a helpless widow. As she prepares herself for the ceremony and Ghanashyam comes to terms with being orphaned, the anguish of both mother and son becomes palpable on screen. While expertly depicting the pain of the protagonists, director Yadav Kumar Bhattarai also explores the tender relationship between a mother and a son, which imbibes Jhola with a soul that has been missing in most Nepali movies pre and post the success of Loot .

Although the Sati system was abolished decades ago, Jhola is still relevant to today’s Nepal where, unfortunately, cases of sexual harassment, violence against women, trafficking remain all too common. The film may not be technically sound or perfectly enacted, but it succeeds in leaving an impact and inspiring viewers to take a stance.

Sunaina Rana

www.jholanepalifilm.com

Jhola was screened by Zonta, an international organisation working to improve the status of women in Nepal, at QFX Kumari on 2 and 5 December.

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‘Mountain Queen: The Summits of Lhakpa Sherpa’ Review: Inspirational Portrait of Female Everest Climber Uncovers Unexpected Wounds

Filmmaker Lucy Walker goes beyond the striking mountain vistas in this portrait of an admirable Nepali woman who became a victim of domestic violence.

By Carlos Aguilar

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Behind the counter at a Whole Foods Market in Connecticut, a woman from Nepal goes unnoticed. A single mother, Lhakpa Sherpa takes public transportation to work. No one around her suspects she has summited Mount Everest in her homeland several times. That jaw-dropping feat of physical and mental discipline is an even greater accomplishment considering her upbringing as an illiterate woman in an utterly patriarchal environment. Now, her story of perseverance, not only as a climber but as an immigrant and survivor, is the subject of the poignant and heart-pounding documentary “ Mountain Queen : The Summits of Lhakpa Sherpa” from “Waste Land” director Lucy Walker .

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Collaborating with several editors, Walker expertly folds in Sherpa’s distinct facets to transcend simplistic triumphalism. While in her element climbing, Sherpa boasts a sturdy demeanor, but she moves with an emotional fragility elsewhere, especially after marrying and moving to the U.S. with George Dijmarescu, an experienced climber from Romania. Most of the stomach-dropping shots come from Sherpa’s most recent ascent, her record-breaking 10th. The significance surpasses outside recognition, because Sherpa needs to regain the characteristic self-possession after years of abuse from Dijmarescu, not only at home but on the mountain, as it was documented in the 2009 book “High Crimes,” which detailed a troubled expedition.

The dissonance between the woman introduced early in this biographical piece, who cut her hair short to pass for a man and work as an Everest guide, and the immigrant woman trapped in a country not her own with a violent alcoholic husband, makes “Mountain Queen” a more interestingly jagged appreciation of its protagonist.

Yet, Walker’s most unexpected insight into her complex and potentially contradictory subject comes from including one of Dijmarescu’s friends, who agrees to speak to Shiny, Sherpa’s youngest daughter, about a side of her father she had rarely considered. The conversation never excuses the monster (or Yeti, as Sherpa refers to him) he became, but refrains from righteously simplistic moralizing about problematic individuals. Dijmarescu’s humanity and own wounds are acknowledged, both for the sake of his children, but on a narrative level, as a way to address how one’s personal sorrows never justify inflicting pain on others.

Sherpa could have been deemed inspirational solely on the merits of the literal and metaphorical heights she has reached, in spite of the cumulus of limitations on her mountainous path. But her bravery to expose one of the toughest periods of her existence, where she was momentarily stripped of her intrepid fearlessness, deserves double the admiration. In Walker’s hands, it becomes clear that Sherpa’s genuine humility and positive outlook emerged from confronting seemingly unsurmountable challenges, which she bent to her will by way of unwavering resolve.

Reviewed at Netflix Epic Screening Room, Los Angeles, July 16, 2024. In Toronto Film Festival 2023. Running time: 111 MIN.

• Production: (Documentary) A Netflix release of a Netflix, SK Global Entertainment, OBB Pictures, Avocados & Coconuts production. Producers: Charlie Corwin, Michael D. Ratner, Miranda Sherman, Dalia Burde, Christopher Newman. Executive producers: Sidney Kimmel, Jo Henriquez, Scott Ratner, Amani King, Lucy Walker, Angus Wall.
• Crew: Director: Lucy Walker. Camera: Matthew Irving, Aaron Phillips, Devin Whetstone. Editor: David Brodie, Yaniv Elani, Carlos Haynes, Davon Ramos, Tyler Temple Higgins. Music: Adam Peters.
• With: Lhakpa Sherpa, Sunny Dijmarescu, Shiny Dijmarescu, George Dijmarescu.

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